A Piece of My Heart is the thought-provoking Vietnam themed play currently being offered at The American Century Theater. It’s not lightweight fare, and in these times, people may not be ready for something so relevant to today’s war, today’s hardships. That being said, it’s extremely well done and should be seen. The play is presented in two acts, the first revolving around the team of young female nurses sent to Vietnam (none with a true idea of what they were facing) and their experiences there. The second act deals with the aftermath…coming home feeling like heroes and being greeted with the same disdain that Americans had for the troops when they arrived. It’s a very unique perspective, the often unheard story of women and what they went through during such a traumatic time in our history. It’s a testimony to their unflinching strength, to live through such harrowing ordeals, and to rebound from the Post Traumatic Stress Syndrome that many of them suffered.

The direction by Jason M. Beagle is exceptional. He’s fashioned interesting visuals in the unique space that is Gunston Arts II. The set (HannaH J Crowell, Christie Swaney) is sturdy and functional, and there’s a careful choreography (Robin Covington, Momo Nakamura, Anne Veal) of the actors’ movement as well as excellent use of the props to change characters and settings. Each transition is seamless, and the women move with precision befitting the military.

The six person female ensemble was very good as a whole; they worked well together and created a terrific synergy. Between their movements, and the perfectly timed and executed lighting (Brian S. Allard) and sound (Tim Morse) design, they managed to recreate the terror and chaos of the war. It was realistic and done without melodrama, not an easy feat in such a small space.

Not all the casting was quite right…as talented as the ladies were, some more were believable than others. Keeping it realistic is crucial to the integrity of a show like this. Some of the actors during their monologue segments broke the fourth wall while others didn’t. It needs to be more uniform in that respect, erring on the side of keeping them as reveries instead of making eye contact with the audience.

Touching on topics that ranged from feminism to sexuality to the effects of Agent Orange, the writing overall was quite strong. Doing it a tremendous justice was Anne Veal as Whitney, a society Vassar grad who holds her own as a nurse but finds solace in the bottom of a martini. Veal was strikingly good, using her booming voice and piercing eyes as well as wonderful expression to convey her character’s emotions. Jeri Marshall as Steely, the career officer who struggled to find her rightful place in the military as both an African American and as a woman, was excellent. She never veered into the aggressive or belligerent stereotype as a woman wronged. Marshall gave us a strong, beautifully composed portrait of a woman who maintained her honor throughout her experience. Marshall sings just a bit near the end of the show, an a capella version of “We Shall Overcome” and it’s hauntingly beautiful.

Melissa W. Bailey as Mary Jo, the folk singer who goes to Nam to entertain the troops, is sweetly genuine. She keeps the story moving with her guitar and her strong, low vocals, and her earnest delivery.

The lone man in the show, Greg Gallagher, plays all the American men (troops, officers, etc.) to great success. Gallagher changes characters subtly and with confidence.

Nearly all of the elements came together. The costumes and props (Ceci Albert) were well done and appropriate. The period music (Tim Morse) was an upbeat and welcome companion to the show. With a piece as intricate as this one, two stage managers (Christine Lange, Bob Pierce) were needed; their diligence kept the show running smoothly. The brief moments of 60s girl group rock singing and moves added humor and a wonderful sense of time.

Staging this particular show to open on 9/11, with its sometimes unrelenting intensity and drama, is a risky move by TACT. Will everyone want to see it? Probably not. Overheard in the lobby at intermission by an elderly man: “No one knows how to suffer these days.” He was referring to general theatre and movie audiences, always wanting to be entertained with light and fun selections. There’s nothing wrong with that…but sometimes it’s a good idea to see the deeper pieces. And if you do spend an evening seeking honesty, realism, and well done drama, there’s no better to place to see it. The show is an achievement.

Photo Gallery

Jeri Marshall as Steele (foreground) and Melissa Bailey as Mary Jo	Anne Veal as Whitney
Melissa Bailey, Gregory Gallagher and Christine Hirrell	Robin Covington (Cissy) and Momo Nakamura (LeeAnn)

Photos provided by the American Century Theater

Cast

• Martha: Christine Hirrell
• Mary Jo: Melissa W. Bailey
• Sissy: Robin Covington
• Whitney: Anne Veal
• LeeAnn: Momo Nakamura
• Steele: Jeri Marshall
• All the American men: Greg Gallagher

Crew

• Producer: Sherri L. Perper
• Director: Jason M. Beagle
• Stage Managers: Christine Lange, Bob Pierce
• Assistant Stage Manager: Lexi Haddad
• Set Design: HannaH J Crowell
• Master Carpenter: Christie Swaney
• Lighting Design: Brian S. Allard
• Sound Design: Tim Morse
• Costume & Properties Design: Ceci Albert
• Sound Operator: Ben Allen
• Set Construction: Christie Swaney, Morgan Sexton, Norman Lee IV
• Movement and Choreography: Robin Covington, Momo Nakamura, Anne Veal
• Publicity: Yvonne Hudson
• Program Design and Cover Art: Michael Sherman
• Production Photography: Sheila Price, Micah Hutz
• Video Production: Anar Garibov, Center for Digital Imaging Arts
• Display and Design Intern: Lana Hasou

Mae West is alive and well at Signature Theatre. The theatre has taken on a challenging work and brought it to vivid life with an entertaining glimpse into the lives of two women: the celebrated Mae West, and a sassy temp/wannabe actress named Jo who is just a little obsessed with the her. Dirty Blonde is staged in Signature’s black box theatre with musical numbers of old, including “I’m No Angel” and “A Guy What Takes His Time.” The set is small and spare yet cleverly designed, and as time periods and settings flip back and forth during the course of the show, each is clearly conveyed with effective lighting, sound, and marvelous projections.

Star Emily Skinner doesn’t merely impersonate West; she becomes her. The vivacious and buxom West was sexy, coarse, outrageously funny, and utterly unforgettable. Skinner has played this role before and it fits her like a glove. Skinner is bubbly and larger than life as Jo, conveying sensitivity and spunk. As West, her own lovely voice becomes rougher, more honeyed whisky than butter, and her phrasing and distinct accent is spot on. Skinner is at her absolute best when playing West in her later years, barely able to move on her own and yet still as spirited and naughty as ever. She manages to be haunting and realistic as the elderly starlet, with an awe-inspiring attention to detail in her every facial expression, movement, and vocalization.

The show’s success also rests heavily on the shoulders of the two men who portray many, many different characters. Hugh Nees has a more central character as Jo’s love interest Charlie, a film archivist and fellow West fanatic. Nees is touching, vulnerable, awkward, and charming in all of his roles. He displays a deftness with various accents and moods, slipping easily back and forth between them. J. Fred Shiffman in an array of West’s former lovers, agents, and devotees was totally convincing. All three shared a great chemistry and fantastic dedication to their roles.

Skinner’s entire wardrobe is gorgeous eye candy, with sparkles and feathers abounding in vibrant colors. All scene, costume, and character changes are done effortlessly.

The direction by Jeremy Skidmore is lush, without pause or melodrama. The show flowed beautifully, and even at nearly two hours long without an intermission, the audience was hooked from start to finish.

You don’t have to be a Mae West buff to love this show…it’s a fun romp no matter how young, or young at heart, you may be. And this production is top notch.

Cast

• Jo/Mae West: Emily Skinner
• Charlie & others: Hugh Nees
• Frank Wallace, Joe Frisco, and others: J. Fred Shiffman

Crew

• Director: Jeremy Skidmore
• Music Director: Gabriel Mangiante
• Musical Staging: Matthew Gardiner
• Production Manager: Timothy H. O’Connell
• Assistant Director: Clementine Thomas
• Production Stage Manager: Julie Meyer
• Sound Design: Matt Rowe
• Lighting Design: Dan Covey
• Costume Design: Helen Huang
• Scenic Design: Daniel Conway

Edward Albee’s Seascape has been given a summery and delicious production at The American Century Theatre. Under the intelligent and refreshingly detailed guidance of director Steven Scott Mazzola, Albee’s sometimes difficult and stylized language and vigorously humorous play comes to life. His choreography is sinuous and lively and the space is used incredibly well. When you enter the black box theatre, you are instantly transported to the shore with the dock, the ocean, and the sandy beach, not to mention the plaintive sound of the gulls.

You either are an Albee heroine or you are not. Annie Houston is most definitely an Albee heroine. She switches easily from the dramatic, poetic monologues to the natural (and funny) lines with ease…and does all with an inner energy and animation that makes her utterly believable and charming. Craig Miller‘s Charlie is amiably disgruntled, and terrific. Both are convincing as a long married couple…comfortable with each other but not completely without mystery. Nancy is girlish and lusty and ready to experience life in a new and different way. Charlie feels that he’s already lived and the rest of it is better spent playing it safe, basking in the memories of the way things were. They peel back the layers of each other in a revealing manner, and one cannot help but need to know how they fare.

As the lizards, Brian Crane (Leslie) and Mundy Spears (Sarah) are tremendous. Clearly they have studied the actual movement of these creatures…they nail the body language and habits with blinking eyes and stealthy crawls with great success. Crane shows a belligerent and yet strangely vulnerable side as Leslie, intelligent and wise yet very young and insecure about the things that he does not know. Spears is a marvel with her reptilian expressions, oddly appropriate vocalizations, and emotional range. She’s a sassy and creepily flirtatious Sarah. The strong bond between the two is touching.

The parallels between the two couples, despite their obvious differences, are wonderful. Albee is at his absolute best when he writes about the human (no pun intended) relationships…and it shines here.

Especially moving was the motherly, nurturing rapport between Houston & Spears…and the veritable territorial war between Miller & Leslie is hilarious. There is a wonderful highlight during an exchange about defining love…and the interest and desperate need to enlighten is tangible.

The detail of the set (Hannah J. Crowell), the lights (Andrew F. Griffin), the sound (Matt Otto), the costumes (Melanie Clark)…all of these things have come together to make a delightful production. The audience was enthralled, drawn completely into the fun, fear, ignorance and wonder that can occur when something foreign this way comes.

Artistic Director’s Notes

Seascape marks a critical point in the career of Edward Albee–the point at which most successful playwrights choose a path dictated by finances and creative realities. Albee chose a different one.

The American Century Theater focus most of its attention on the very best American playwrights, yet even these suffer from a fate that seems very grafted to the commercial creative career: they can’t escape their own successes. Once a playwright has a well-received play, there are overwhelming pressures to stay close to the themes and style that have brought fame, riches, and favor. Tennessee Williams found himself returning repeatedly to the travails of lonely Southern spinsters. Arthur Miller explored similar moral dilemmas in different settings. Many playwrights staged brief rebellions: Philip Barry, hailed for his comedies, tried periodically to sneak a drama past the critics, who would have none of it. Both Miller and Williams attempted light-hearted fare that had audiences telling them to go back to what they did best. Usually, that’s what the great writers end up doing. It’s safer, and it’s easier on both their bank accounts and their reputations.

Still, they make this compromise at a price. Researchers on the mysteries of the human brain have learned that human creativity comes from foraging new neural pathways. When an artist uses the same neural pathway over and over, it becomes exhausted, like a mine’s vein of a precious metal that gets depleted. After that, nothing really new or interesting comes out. A few artists have both the courage and the depth of talent to abandon the old pathways that have been successful before they reach this point, go searching for new ones, and find them. The Beatles. Steve Martin. Philip Roth. Among playwrights, it is a very short list, almost beginning and ending with Eugene O’Neill. But Edward Albee also belongs on this list–and has the scars to prove it.

Seascape is called the second of Albee’s Pulitzer prize-winning plays, but it was really the third. Who’s Afraid of Virginia Woolf?, by acclamation his masterpiece, was selected by the Pulitzer Prize drama panel for the 1963 prize, but the stodgy Pulitzer Committee vetoed the choice on the grounds that the play did not represent “a wholesome view of American life.” They awarded no drama prize that year, half of the drama jurors resigned in protest. Albee had to wait until 1967 for his first officially sanctioned Pulitzer — for A Delicate Balance. Between these two domestic emotional – disembowelment plays, Albee bad been trying out new neural pathways like mad: the book for a musical comedy, Breakfast at Tiffany’s; a dense intellectual allegory, Tiny Alice; experimental one-acts. The musical closed before it got to Broadway, the allegory was roundly hated by critics. And the experimental one-acts were, well, experimental one-acts, the kind of thing that established playwrights were supposed to leave behind with their one room garrets and their pile of rejection slips. So with another Broadway hit and a second celebrated play from the original mother lode, what did Edward Albee do?

He went back to looking for a new vein. Seven years later, after several more failed digs, he found himself back at the original mine in a previously unexplored shaft that still had riches: Seascape — another set of unsettled couples, but with a bold twist. Albee was again on top. Most playwrights –- indeed every other one -– would have accepted the apparent message. Not Edward Albee. He closed the old mine, strapped on his gear, grabbed his pickaxe, and went looking again. A Pirandello-style drama, The Lady From Dubuque. No. Another musical, Lolita. Failure. The Man with Three Arms, in which a man who has been celebrated for a unique deformity harangued by audiences for not caring about him once his extra arm fell off. By this point, critics had concluded that Albee simply had lost his talent, if not his mind. Finally seven flops and sixteen years after Seascape, Albee found his new vein with Three Tall Women, a Broadway smash in 1990 and his fourth Pulitzer Prize. Seascape had not been the beginning of the end for Albee, as every critic was saying in the 80’s, but the end of the beginning.

-Jack Marshall, Artistic Director

Photo Gallery

Craig Miller (Charlie)	Craig Miller (Charlie); Annie Houston (Nancy)
Craig Miller (Charlie); Annie Houston (Nancy)	Craig Miller (Charlie)
Brian Crane (Leslie), Annie Houston (Nancy), Craig Miller (Charlie), and	Annie Houston (Nancy); Brian Crane (Leslie)
Annie Houston (Nancy)	Craig Miller (Charlie); Annie Houston (Nancy)
Annie Houston (Nancy), Brian Crane (Leslie) and Mundy Spears (Sarah)	Craig Miller (Charlie), Brian Crane (Leslie)
Mundy Spears (Sarah) and Brian Crane (Leslie)

Cast

• Nancy: Annie Houston
• Charlie: Craig Miller
• Leslie: Brian Crane
• Sarah: Mundy Spears

Crew

• Director: Steven Scott Mazzola
• Stage Manager: Zachary W. Ford
• Producer: Karen Currie
• Set Design: Hannah J. Crowell
• Lighting Design: Andrew F. Griffin
• Sound Design: Matt Otto
• Costume Design: Melanie Clark
• Properties Design: Suzanne Maloney
• Makeup: Lynn Sharp-Spears
• Technical Director: Norman Lee, IV
• Scenic Artist: Meaghan Toohey
• Board Operators: Michael Clark, Christine Millette
• Electrics: Michael Clark
• Set Construction: Norman Lee, IV
• Costume Construction: Jennifer Tardiff, Kingsley Gbadegesin
• Production Intern: Brendan Haley
• Marketing and Publicity: Yvonne Hudson, Jennifer Adams
• Program Design and Cover Art: Michael Sherman
• Production Photography: Micah Hutz
• Display and Design Intern: Lana Hasou

The Elden Street Players shoot for the stars and score with their polished production of Sondheim’s Passion. A curiously sad offering for the quirky, clever and whimsical Sondheim, Passion is about the deepest human emotion, and its lingering questions: Can you make someone love you? Do you love someone because you need them, or do you need them because you love them? What is love?

Giorgio, an Italian soldier, is in love with the beautiful (and unfortunately married) Clara. They steal moments of ardor whenever they can, carefree but in love. When his orders take him far away, they remain in touch through tender letters. But at his military post, Giorgio finds himself in an awkward position when his commander’s cousin, the ailing Fosca, becomes enamored of him. Fosca is the antithesis of the attractive and vivacious Clara, and so desperate in her pursuit of Giorgio that he is initially repulsed by her. But all is not what is seems, and love can grow in the most unusual of places…transforming all of those involved in different ways.

Sondheim’s score is as challenging as ever, flooded with intricate harmonies and offbeat rhythms. The capable orchestra, fearlessly led by conductor and musical director (Elisa Rosman), is strong and fastidiously musical. However, the singers would definitely benefit from a video monitor or a well positioned mirror. The orchestra is above the stage, and while Ms. Rosman can see the singers and followed them well, they couldn’t see her…and the duets and trios are really tricky. That said, even the struggles were few and far between. There was also a marvelous balance of sound between the musicians and singer, neither overpowering the other, simply complimenting each other.

Body mics would normally be impractical in such a small space, but in this case, with a lot of intimate conversation in word and song, they were perfect. Each syllable was heard, accentuated by excellent diction.

Heather Whitney as Clara was lovely. She played the role with a cool, classy detachment befitting her character, and sang charmingly with a focused and pretty soprano.

Patrick McMahan as Giorgio was fantastic. He gave a layered, exquisite performance, leading us through his metamorphosis with poetic tone and superb acting. McMahan’s voice was constantly lyrical and fluid-a wonderful match for both Clara and Fosca’s vastly different styles.

Evelyn Trester‘s heartbreaking portrayal of Fosca was extraordinary. Gorgeous, soaring vocals combined with an absolute embodiment of her character’s sickly façade and cloying personality allowed the audience to engage in a love/hate relationship with her. One felt the depths of her loneliness and rage, the woman crying out to be heard. Her unique voice has a rich, honeyed warmth that grabs a hold of you and doesn’t let go, and her renditions of both “I Read” and “Loving You” were thrilling, chilling, and utterly memorable.

Clara, Giorgio & Fosca were exceptionally cast in their roles, and splendidly directed by Gloria Dugan, who leaves a distinctive and thoughtful mark on all of her productions. There were no superfluous or exaggerated gestures; each one was honest. From the moment Clara & Giorgio are in bed together, there is a sense of genuine relationship between each character. Their hands are not afraid to touch, to hold, to caress…integral to a show with this title.

Terrific choreography (Jeannie Torres) for the soldiers helped with the many seamless transitions as ESP kept their small set moving from place to place…a bedroom, a dining hall, a train station. Solid singing and acting was found throughout the ensemble.

Standouts also came in the form of the calm and cultured doctor (Michael Sherman), who creates an impossible situation for Giorgio and finds himself regretting it later; and Lance Adell as Giorgio’s superior officer, Colonel Ricci (who is also Fosca’s cousin and protector). Adell hit notes of sympathy and eloquence with his nuanced storytelling of his cousin’s veiled past.

Much attention to detail was given to the vibrant costumes (Judy Whelihan) and props (Mike Smith) and it was greatly appreciated and enjoyed. The basic set (John Vasko) was simple and functional…a bright Italian villa in the 1800s that served as a backdrop for all the action. The lighting design (Franklin Coleman) and execution (Michael O’Connor) was perfection…even the smallest cues were precisely done and thoughtfully so.

Passion is a deeply emotional show, displaying a few of Sondheim’s signature styles and then some of his lush, glorious melodies. It cannot survive on grand sets, dance numbers, or a trite, happy ending. But with the careful eye and professional caliber of these performances, it not only survives…it flourishes, like the love that is deeply woven into its core.

Cast

• Clara: Heather Whitney
• Giorgio: Patrick McMahan
• Lieutenant Torasso: David Segal
• Colonel Ricci: Lance Adell
• Doctor Tambourri: Michael Sherman
• Sergeant Lombardi/Man: Sam Nystrom
• Lieutenant Barri/Ludovic: Blakeman Brophy
• Major Rizzoli/Father: David Boleyn
• Private Augenti: Michael Shaaff
• Fosca: Evelyn Trester
• Attendant/Mistress/Woman: Sharon Grant
• Attendant/Mother/Nurse: Susanna Todd

Crew

• Co-Producers: Jeff Boatright, Nanette Reynolds
• Director: Gloria Dugan
• Music Director: Elisa Rosman
• Choreography: Jeannie Torres
• Co-Stage Managers: Angie Anderson, Leslie Peterson
• Asst. Stage Manager: Hillary Huse
• Backstage Crew: Lucy Todd, Christine Spata, Trevor Johnston
• Set Designer: John Vasko
• Master Carpenter: Marty Sullivan
• Assisted by: Phillip Archey, Theresa Bender, Bill Behan, Jeff Boatright, Richard Durkin, Scott Healy, Tod Kerr, John Shea, Amy Skiavo, Mike Smith, John Vasko
• Lighting Designer: Franklin Coleman
• Master Electrician: John Shea
• Assisted by: Theresa Bender, Matt Bell, Michael O’Connor, Doug Olmsted, Jeff Boatright
• Sound Design: Stan Harris
• Assisted by: Tony Aiello
• Costume Design: Judy Whelihan
• Seamstress: Carol Steele
• Set Dressing/Props: Mike Smith
• Set Painting: Cathy Rieder
• Assisted by: Sabrina Begley, Theresa Bender, Maggie Cotter, Trish Cronan
• Make Up: Kat Brais
• Hair/Wigs: Bette Williams
• Light Board Operator: Michael O’Connor
• Audition Accompanist: Alan Margolis
• House Management: Dave Sinclair
• Box Office Management: Richard Durkin
• Publicity: Jeff Boatright, Todd Huse, Ginger Kohles
• Cover Graphic: Michael Sherman
• Playbill: Ginger Kohles

Orchestra

• Reeds: Mitch Bassman, Jane Hughes
• French Horn: Deb Kline, Mark Deal
• Trumpet: Patrick Dwyer
• Violin: Michele Jacobs
• Viola: Margie Bassman
• Cello: Virginia Gardner
• Bass: Don Williams, Randy Dahlberg
• Percussion: Matt Robotham
• Piano/Conductor: Elisa Rosman

Encore Stage & Studio Act III Theatre Company’s mission is to showcase the talents of older teens, college & grad students. They’ve put together an adorable production of the Disney classic, Beauty & the Beast.

Director Susan Alison Keady has an awful lot of people to maneuver and she’s done a nice job with it.

There are a few things hampering the show. The lack of body mics for even the leads is a mistake. It’s a cavernous space, and the actors are often tied to standing near the three small floor mics to project to the crowd. It’s a shame, because Belle (Diana Ruskin) has a lovely, clear mezzo soprano and Beast (Marshall Severin) has a beautifully focused baritone, and both deserve to be heard. Also, a complete lack of a mask or make up for the Beast is almost comical…Severin is a good looking man, and a long, shaggy wig and horns did not transform him into something hideous. The canned music is a hindrance as well…to do a musical of this scale, with a lot of physical action and choreography, is difficult. Without a baton to follow, the actors often struggled with their musical entrances and it affected the pacing.

That said, there were plenty of highlights to go around. The three silly girls smitten with Gaston (Louisa deButts, Daria Hoobchaak, and Jessica Moody) are full of light and charm. The “Enchanted Castle” cast was especially convincing. Severin gave an entertaining and energetic performance as the Beast, unexpectedly funny with great expression. His tender moments were executed with a grace and maturity beyond his years. Lumiere (Meg Glassco) and Cogsworth (Meghan MacFarland) gave clever, polished characterizations of beloved characters. Meg Hoover as the operatic Wardrobe and Claire Yenson as the naughty Babette also sparkled.

The costumes (Debra Leonard) were outstanding. They were vibrant, creative, and exquisitely made. The lighting design (Katy McHugh) was pretty and lent an air of magic to what was a very earthy production. The set design (Jimmy Keady) was well constructed and a perfect use of the large space.

Most importantly, the young audience was captivated. Nary a peep was heard during the 2.5 hour show (with the startling exception of the children sitting directly next to me-note to parents: it’s never too early to start teaching theatre etiquette!) and the little faces were alight with the wonder of seeing a favorite animated film brought to life.

McLean Community Players has delivered a charming production of Oliver!, featuring a talented ensemble and some stand out performances. The classic tale of Oliver Twist, the Dickensian orphan who begs for a little more gruel, has been known to audiences for well over a century. It was presented as a musical in the 1960s with great success, featuring memorable tunes such as “Food, Glorious Food,” and “Consider Yourself.”

Directors/Choreographers Pam & Kevin McCormack have worked hard to showcase their cast…their troupe of sad orphans/adorable pickpockets gave a great deal of energy at last night’s performance. Under the careful baton of musical director and conductor Joe Gems, their group numbers feature solid ensemble singing, no small feat for a group of small boys! Forrest Browne as Oliver Twist is a joy to watch. His earnest rendition of “Where is Love” sent a few chills of heartbreaking tenderness. Even with his changing young voice, he still manages to make Oliver sympathetic and charismatic.

In the small roles of Mr. & Mrs. Sowerberry, the local undertakers to whom Oliver has been sold, Michael Schlesinger and Margie Remmers stand out with hilarious expressions and great comedic timing. Schlesinger especially has a lovely singing voice, and he brings a creepy allure to the role.

The show was owned by grand master pickpocket Fagin, played with delightful eccentricity by Lyle Smythers. Smythers danced his way through his role with agility and style, and sang with unaffected candor. Cleary groomed by the conman himself, The Artful Dodger (Wesley Coleman) nearly stole the show with his spot on Cockney accent and affectation, stealthy moves, and wonderful vocals. At only 15, Coleman is a force to be reckoned with, and area audiences have a treat in store with his performance.

Mimi Preda as Nancy, the bar wench with a good heart, brings the most polished voice to the production. She handles the difficult lower register of “As Long as He Needs Me” with a warm, rich tone.

Andrew Bolden left a little to be desired as the infamous Bill Sykes. Bolden’s vocals were nice, but he lacked the truly menacing factor that Sykes needs to make his character plausible. It’s a great role, and he needs to bring him to life.

One of the few issues is that the relationship between characters isn’t really shown. The direction leaves them quite isolated…without much build on the threads that bind the various characters together. The staging is often too removed from the action (such as Nancy’s numbers, where the black curtain is drawn, cutting her off from the rest of the show), and that takes away from the realism that’s been successfully shown thus far.

Another issue is the fight choreographer. There isn’t one listed…and for a show that requires feigned punches, slaps, throws, and two death scenes…one was sorely needed. It loses effectiveness when not done properly, and with so much attention to detail in many other areas, it was a shame to lose the focus in this one.

The dialect coach (Philip Baedecker) does a very nice job with the challenging British/Cockney accents.

The costumes (Richard Battistelli) were vibrant and perfect, and the lighting design (Lynne Glikbarg) was lovely. The set (Bill Glikbarg), which at first seemed basic and functional, grew with traveling pieces as the show went on, and it was effective and well done. The painted backdrops (Dinnie Whitson) depicting various London scenes were glorious. The props (Terry Yates, Jennifer Clark, Summar Donaldson, and Nancy Perry) were also beautifully done. One small criticism would be to cut each staircase short by one step…some of the entrances and exits looked awkward as the actors had to climb up or down a few stairs to exit instead of going right into the wings.

Pam McCormack does the right thing in showcasing her strong dancers and allowing the ensemble to simply support the dancing. There isn’t a lot of intricate dance choreography to get in the way of the action, but there is a ton of clever staging that uses the space well. Children’s Dance Captain Sarah Tate also deserves a lot of credit…the boys looked practiced and comfortable.

Hats off to Stage Manager Douglas F. Yriart, who has his hands full with the more than 75 cast and crew members. Everything ran smoothly.

The biggest criticism was the musical underscoring of several moments of dialogue. Despite the body mics, the sometimes crucial dialogue was completely lost. A suggestion would be to cut it out completely, and just allow the action and dialogue to take place freely. One other small note…there were many tech people who were working hard during the actual numbers, not just during scene changes…it would be nice to have them in some sort of period clothing. Even loose flowy shirts over black pants would really them to blend in…one of the assistant SMs did this, and it made for smoother changes.

The orchestra was spot on, with especially beautiful and soulful violin playing by Michele Jacobs. She has a winning moment when battling for a solo with Fagin, and her virtuosity shines.

Sometimes it’s beneficial to cut a few of the lesser numbers if the licensing allows, at least in a show that’s geared towards children. They have shorter attention spans and much of the show’s appeal can be found even when condensed slightly. That said, the production moved extremely well, with the first act gone in a blink.

Overall, the show was bright, enjoyable, and loads of fun. You’ll be singing the tunes as you exit the theatre…and then some!

Cast

• Oliver Twist: Forrest Browne
• Artful Dodger: Wesley Coleman
• Nancy: Marion Preda
• Fagin: Lyle Smythers
• Bill Sykes: Andrew Bolden
• Bet: Alexis Vasconez
• Dr Grimwig/Ensemble: Alex Bhargava
• Noah Claypole/Ensemble: Nick Stone
• Charlotte/Ensemble: Morgan Sendek
• Mr Bumble: Paul Neiswander
• Mr Sowerberry: Michael Schlesinger
• Mrs Sowerberry: Margie Remmers
• Mr Brownlow: Lanny Slusher
• Widow Corney: Denise Wade
• Female Ensemble: Angelica Fallin-Totten, Paige Farrington-Himes, Samantha Franklin, Sydney Kirwan, Jennifer Levy, Linda Stone, Sarah Tate, Mary Kate Watson
• Male Ensemble: Bob Bender, John Norquist, Paul Parry
• Fagin/Workhouse Boy: Elijah Clark, Daniel Durgavich, Hugo Kessler, Tyler King, Connor Knutsen, Nora Leibold, Adam LeKang, Jordi Parry, Aaron Schlesinger, Alex Stone, Brittany Walsh

Crew

• Director: Kevin McCormack, Pamela McCormack
• Producer: Mike Scott
• Music Director: Joe Gems
• Assistant to Music Director: Lori Roddy
• Stage Manager: Douglas F. Yriart
• Set Designer: Bill Glikbarg
• Assistant Stage Manager: Matthew Beyers, Shayne Gardner
• Technical Director: George Farnsworth
• Lighting Designer: Lynne Glikbarg
• Sound Design: Jerry Bonnes, Bob Zeigler
• Dialect Coach: Phil Baedecker
• Children’s Dance Captain: Sarah Tate
• Master Electrician: Chris Hardy, Bob Zeigler
• Makeup: Lynn Kleyla
• Costumer: Richard (Bat) Battistelli
• Scenic Design: Dinnie Whitson
• Props: Jennifer Clark, Summer Donaldson, Nancy Perry, Terry Yates
• Set Construction: Janina Anderson, Matthew Beyers, John Downing, Cathy Farnsworth, George Farnsworth, Bill Glikbarg, Dick La Porte, Kevin McCormack, Shane Moore, Mike Scott, Bob Zeigler
• Playbill: George Farnsworth, Mike Scott
• House Manager: Columba Brumby
• Stage Crew: Cathy Farnsworth, Dick La Porte, Mary Renschler, Shirley Sameshima, Brent Stone

Photo Gallery

Alex Bhargava, Lanny Slusher	Nick Stone
Morgan Sendek	Marion Preda
Paul Neiswander, Lanny Slusher	Wesley Coleman, Marion Preda
Ragamuffins	Samantha Franklin, Sydney Kirwan
Michael Schlesinger	Lyle Smythers
Cast	Cast

This is part 3 of ShowBizRadio’s 5 part series covering this year’s NVTA One Act Festival.

NVTA’s third night got off to a fresh start with Pied Piper Theatre‘s published one act, Candid. With a charming 13 year old in the leading role (Manny Gillin), the show focuses on a young man dealing with his mother’s abandonment. It’s always tough when you have teens playing the parents of other teens, but the cast brought a lot of energy and fun to their roles. Manny Gillin certainly has a bright future ahead of him. 

Relative Strangers was the offering from Fauquier Community Theatre, directed by Sallie Willows. There was a lovely chemistry between Mona Kay Helper and Christine Lowry as airline passengers with different lives heading to the same destination. The writing was fast paced and clever with a unique concept. The actors were a little too soft spoken for the large space, making lines difficult to hear, and being confined to their airplane seats hindered them as well. But with witty interruptions from flight attendant (winningly played by Penny McKee), and sincere characterizations by Helper and Lowry, it was a nicely done production.

Castaway‘s Till Death Do Us Part was an original script by Dean A. Benjamin. Directed by Zina Bleck, the plot revolved around a disgruntled married couple killed on their way to visit a divorce attorney. All the action takes place immediately following the funeral, with the oldercouple Rita & Charlie (Lori Muhlstein & Ted Ballard) wondering what happens next from the safety of their mausoleum, and their adult children visting the family plot. The play got off to a terrific start, but grew a little repetitive and not quite as funny as perhaps the playwright had intended. The script itself needed some editing to make it more cohesive. Muhlstein and Ballard were fantastic and completely believable as the bickering older couple. The relationship between the adult children left a little to be desired, not quite as well written or as charismatic as the others. 

This is part 1 of ShowBizRadio’s 5 part series covering this year’s NVTA One Act Festival.

The NVTA Festival kicked off in style this year with two published, previously performed one acts from Springfield Community Theatre and Zoon Vader Productions. Both shows were well done, and solidly entertaining. Spoon River Anthology (SCT) was well directed by Adriana Hardy, and there were excellent performances from Mollie Wise, Cal Whitehurst, Don Neal, and a lovely singer in Maria Benzie. Zoon Vader’s Lonestar, a fantastic Texas comedy, was briskly and thoughtfully directed by Frank Pasqualino. He perfectly cast area actors Christopher Guy Thorne and Matthew Hartman as brothers, and their camaraderie and chemistry shone through in each interaction.

There’s a new judging format this year. No longer do the cast and crew of a one act make their way to a small room to face the panel of judges. Instead, after strike is completed, the cast and crew sit in the front row of the theatre, and the judges face them one by one for a five minute public critique. In addition to that, each judge comes in for the evaluation on an individual basis. This leads to less bias, influence, and overlap in their commentary, which is a great idea.

The panel this year is comprised of three professionals: Leonard Hughes, a retired Post staff writer; Don Martin, an area actor and director; and Marge Tischer, a veteran maven who has dabbled in every aspect of the theatre. All three were kind in their remarks, although none were afraid of honest and constructive criticism. They were analyzing each show very closely, often giving the type of critique to be used for future productions. It was interesting to see how their remarks were frequently contradictory, which goes to show that different angles on performances makes a good horse race.

The Festival is in its 28th year, and much effort and planning has gone into it. Producers Deb Crawford and Zina Bleck have done a wonderful job in its coordination for a third straight year…unfortunately, the turnout wasn’t a great one…hopefully in the next three performances (Saturday, June 20, and Friday June 26 and Saturday June 27, with an Awards Ceremony on Sunday, June 28) more support will come…there will be 10 plays in all presented, six published pieces and four originals.

What kind of insane director takes on a production that calls for a cast of eleven men, eight of them teenagers, and one woman? And not just any cast…one that requires British accents across the board, singing in four part harmony, and actually possessing acting ability? Michael Kharfen. The prominent area actor and director knew that he was in for a challenge, and he rose to the occasion beautifully. The History Boys is wonderfully written, perfectly cast, and executed with sensitivity and radiant intelligence.

Utilizing every inch of space in the black box theatre with simple flats that rotate, the extremely functional set (Kevin Lane) becomes part of the action. Cast members have been intricately choreographed to seamlessly transition from one scene to the next.

The show takes place in 1980s Yorkshire, England, at an all boys exclusive academy where the goal is to get into Oxford or Cambridge for college. The boys are often too smart for their own good, and their teachers are constantly looking for ways to educate and stimulate their impressionable minds. The message here is that learning comes in all forms, and that to teach is not always to educate, and facts don’t always equal wisdom. Two very different professors come together to help the boys pass their college entrance exams, one seeking to inspire, the other wanting tangible results.

At the heart of this production is beloved literature professor, Hector (Don Petersen). Petersen turns in an award-worthy performance, full of joie de vivre (pun intended; he has a classroom scene conducted almost entirely in French!), warmth, and hidden demons. He makes Hector colorful as well as immensely likable. So likable, in fact, that even in light of his indiscretions, one cannot help but find him appealing.

Hans Dettmar as the more rigid Mr. Irwin is strong within his strait-laced and convicted character in Act I, but less assured when dealing with his more human side in Act II. Headmaster (John Barclay Burns) is thoroughly British. Burns embodied the stiff upper lip Brit with grace and just the right droll delivery. Jane McFarlane as lone female instructor Mrs. Lintott shines with her wry wit, shocking language, and perfect comedic timing.

And those are just the adults! The ensemble cast of teens is flawless. Ian Burns, Nathan Williams, Jake Beckhard, and Josh Holober-Ward make each of their cameos memorable. Matt Jackson doesn’t know the meaning of sublety…and that works magic for his overly dramatic and ultimately hilarious character. The audience was in stitches after every one of his scene-stealing moments.

In the more featured roles of Dakin (Brian Garrison), Posner (Miles Butler), and Scripps (Trey Irvine), there is seriously good acting going on here. Irvine plays a Christian in a sea of non-believers, and he infuses his natural style with charm. Garrison is the charismatic pretty boy who seeks to please everyone as well as himself. He is sarcastic and sly, clever though at times unsure of himself, and completely believable. Butler hits heartbreaking notes as Posner, the smallest of the boys, the only Jew, and the one hopelessly in love with Dakin. Using his expressive face and lovely, plaintive voice, Butler creates an awkwardly delightful character that one longs to protect from the harsh realities of life.

They truly had a feeling of camaraderie, youth and fun throughout the show. Their reenactments of little known British films as part of an ongoing contest with Hector were enchanting.

The costumes (Judy Whelihan) are spot on…the uniforms match on the top (blazers and ties) and then fall apart on the bottom with mismatched khakis and scuffed shoes…just as all normal boys’ attire would.

The lighting (Ken & Patti Crowley) is exquisite, creating a lovely aura around the separate monologues. The necessary blackouts are brief, and the color scheme is appropriately inviting. Kevin Garrett’s sound design features fantastic music that captures the feeling of the era as well as England’s culture at the time. Clare Palace did a great job coaching the accents…they were all more than adequate, and they all sounded like they came from different areas of England, which would be the case in a school like this one.

The attention to detail from the cast and production team alike was impressive. It’s this dedication that sets this show apart from others.

The script itself is well written, funny, poignant, terrific…but it runs long. 2.5 hours with intermission wasn’t necessary, and even the brisk pacing and energetic cast couldn’t hide that fact. The ending, touching though it was, was a bit maudlin, and could have been just as effective cut short by about 15-20 minutes.

That said, this was a wholly absorbing show that remained intense and riveting from the metaphorical curtain up to the final curtain call.

Cast

• Mr. Hector: Don Petersen
• Mr. Irwin: Hans Dettmar
• Mrs. Lintott: Jane Macfarlane
• Headmaster: John Barclay Burns
• Posner: Miles Butler
• Dakin: Brian Garrison
• Scripps: Trey Ervine
• Rudge: Jake Beckhard
• Timms: Matt Jackson
• Lockwood: Nathan Williams
• Akthar: Josh Holober-Ward
• Crowther: Ian Burns

Crew

• Producer: Rich Klare
• Director: Michael Kharfen
• Stage Manager: John Shea
• Asst Stage Manager: Theresa Bender
• Set Design: Kevin Lane
• Set Construction: Michael Schlabach
• Set Painting: Lorraine Magee
• Assisted by: Kevin Lane
• Costume Design: Judy Whelihan
• Light Design: Ken & Patti Crowley
• Board Operator: Mary Ann Hall
• Set Decoration/Set Dressing: Mike Smith
• Properties: Mike Smith
• Sound Design: Kevin Garrett
• Sound Board Operator: Michael O’Connor
• Dialect Coach: Clare Palace
• Music Coach: Valerie Higgs
• Makeup Design: Clare Palace
• Hair Design: Clare Palace
• Running Crew: Lil Colquitt
• House Management: Dave Sinclair
• Publicity: Rich Klare
• Playbill: Virginia Kohles and Rich Klare
• Graphic Design/Photography: Virginia Kohles

Flight of the Lawnchair Man is the comedic new musical currently being presented at CCT with 2nd Flight Theatre Company. The direction and choreography (Randall Jones) is brisk and paints colorful images. The plot is based on the true story of a New Jersey man who finds himself without a real purpose in life. He’s 34, lives with his nagging mother, and his greatest accomplishment has been his recent promotion to Walmart snack bar manager.

Aided by his tollbooth girlfriend Gracie (Susanna Todd), Jerry Gorman (Mark W. Gray-Mendes) takes his life (or lack thereof) into his own hands, assisted by 4000 helium balloons and a lawnchair. Gray-Mendes is painfully underused…he was perfectly cast as the sensitive loser, singing with lyricism and depth, but his songs were among the shortest in the show and he spent a lot of time onstage without a whole lot to do. Write his character more songs, please! Todd is a charmer, with a strong belting voice and a perky persona. The two have the most memorable tunes in the entire production, “I Want to Fly” and “The Air is Free.”

The show was anchored by its two leads, but there were brilliant scene stealers. Ryan Khatcheressian as an egotistical pilot and Rebecca Clary his stewardess bimbette sidekick were hysterical. Khatcheressian has always been known in this area for his vocal prowess, but here he finds the humor in every last aspect of his character and takes it to a new level.

Cory Okouchi infuses his cameo as Mr. Frankel with life and over the top energy…Josh Doyle as Charles Lindbergh is thoroughly amusing, and Cathy Arnold as Amelia Earhart is a winner. And Lori Staley’s brief turn as the little French Boy is delightful.

It’s a quirky musical that doesn’t quite hit all the notes of whimsy it might have achieved. The very functional set (Kevin King) complete with wonderful projections, helps the show along. The lighting design (also Kevin King) is beautiful, with a dreamy, pastel palette. There were some issues with the orchestra/vocal balance and the microphones, but it’s difficult to maintain a balance when the orchestra is behind the performers/set/scrim. The costume design (Jacquin Pierce Allen, Michael Schaaff) was effective and fun for the most part, except for the opening ensemble costumes…there needed to be uniform crispness to attain the point of the number.

The surprise second ending (after the curtain call) was the dream child of director Jones…it may have changed the flavor from bittersweet to honey…but was nicely executed by Jen Faulconer.

Opening night was lacking a little energy, but the cast will no doubt get stronger as the run continues. The audience was very enthusiastic and the experience was enhanced by the presence of the composer and lyricist, Robert Lindsey-Nassif, who graciously held a talkback after the show.

Cast

• Jerry Gorman: Mark W. Gray-Mendes
• Gracie: Susanna Todd
• Mr. Frankel: Cory Okouchi
• Mother Gorman: Marissa Quintos
• Big Jack Preston: Ryan Khatcheressian
• Blaire: Rebecca Clary
• French Boy: Lori Staley
• Thong Dude/Movie Narrator: Jesse Baskin
• Model/Nena: Jen Faulconer
• Car-Jacked Guy/Photographer: Jeffery Miller
• Nun/Feather O’Hurlahee: Carla Okouchi
• Biker Chick/FAA Man: Renee Rabben
• Wal-Mart Employee/NASA Official: Michael Schaaff
• Closet Gay/Thuggish Bully: Stephen T Wheeler
• Madeline/Lindbergh Bimbo: Christine Young
• Young Jerry: Braedon Kulick
• Leonardo da Vinci: Kevin McCormack
• Charles Lindbergh: Josh Doyle
• Amelia Earhart: Cathy Arnold

Crew

• Producer: Leah Aspell
• Director: Randall Jones
• Assistant Director: Maribeth Jones
• Music Director: David Rohde
• Stage Manager: Colleen Stock
• Assistant Stage Manager: Laura Moody
• Technical Directors: Kevin King, Rick Wilson
• Master Carpenters: Kevin King, Rick Wilson
• Special Effects: Nick Brown, Jeff Bender